@InkyFingers Here are the important parts from the images that @AnasaziWrites posted, so that you can put it through Google translate:HC Spencer 1866

"The short letters are usually left unshaded, though the small a, in certain combinations, sometimes receives a shade. The shade upon t and d is heaviest at top, tapering gradually to the lower turn.

The shade of the small letter p is the reverse of t, commencing on the ruled line, and continuing to the base of the letter.

When two p's, d's or t's come together, the first is shaded, while the second receives 1/2 shade only. These letters have the preference in shading, hence, small loop letters, immediately connected with them, are not shaded; for example: th, dl.

In the g and q, the shade is made on the left side of the pointed oval; in h and k, upon the short straight line which occurs in the finish of these letters; in y and z, upon the first short straight line at their top.

The shade of letters l and b begins at the middle point of the downward line in each, and extends to the lower turn.

When two l's or b's are united, the first only is shaded.

The shade of the f begins at the middle point of the downward line, and continues to the turn at the base.

The j and long s are never shaded. If they were, the shade would be out of place, when compared with other small letters.

Capital letters are usually shaded only upon one curve; but when large capitals are made, in which bold curves are used at the two downward curves in the ovals are sometime shaded. This, however, is not generally admissible in business writing."

Spencer 1859

"As shading is more a matter of taste and of necessity, it will be safe to follow the custom of the most skilled, professional, and business penmen of the day, which is decidedly opposed to the stale theory that all downward strokes should be equally shaded. Shade is an element of beauty, when associated and in contrast with light strokes, and it should be so distributed upon the capitals, and extent letters of the small alphabet, as to produce the most pleasing effect, without lessening the rapidity of movement. The shading should be heaviest at the centre of the capital ovals, and taper alike both ways from that point."

I have always been interested in the analytical approach (looking at the basic priciples behind letterforms, like the oval), rather than the copybook appraoch (trying to imitate someone else's strokes)

As a child of the nineties I remember eagerly awaiting when I could start writing "grown-up writing". I was taught a cut down version of cursive that didn't join many of the letters: y,j,g,x,s,p,b. So I learned how to join those letters by myself.

I have dabbledo in calligraphy since young, but never took it very seriously. In addition, the internet hadn't been invented, so it was a lot harder to find information. Now I'm looking to improve. I'm interested in Copperplate, Ornamental penmanship (fan of Madarasz), and Business penmanship (E C Mills/F W Tamblyn style). I also dabble at some broad pen stuff, like Textura Quadrata, and Cancelleresca Corsiva (Italic).